News

White Side and The Divide at the Delaware Art Museum

Kim Rice’s large works White
Side and The
Divide will be installed at the Delaware Art Museum throughout
the fall and winter of this year. The museum's Juried Craft
Exhibition opens October 20, 2018 and continues through January
27, 2019.

Prospect Satellite

This year’s Prospect New Orleans will include new work from
Kim Rice—a 1000-square-foot fiber-art installation—as part of its
triennial Satellite program. Prospect.4: The Lotus
in Spite of the Swamp will feature works from a wide variety
of artists exploring the creation of beauty from darkness and
struggle. The show opens November 18th and runs
through May 2018.

Red,White + Blue

Several of Kim Rice’s works will be showing this spring at
Red,White + Blue a national exhibition juried by Camilo
Alvarez. The selection will include work from both her magazine and redlining series. The show
opens March 16, 2018 and runs through April 20. Opening reception
Friday, March 16 at the Brookline Arts Center
in Brookline, Massachusetts.

Shelter

Kim Rice’s work “Redlining” will appear in the in the Jodee Harris
Gallery at Seton Hill University in Greensburg, Pennsylvania as
part of a collaboration with the Society for Contemporary Craft.
The exhibit takes place October 26th through November
21st, 2017.

Fantastic Fibers

Kim Rice’s large-scale work White Side
will be installed at the Yeiser Art Center in Paducah, Kentucky.
Fantastic
Fibers is “an international juried exhibition that seeks to
showcase a wide range of outstanding works related to the fiber
medium.” This catalog show is put on every April.

Fictive Selves of Color

Several works from Kim Rice’s series White issues will be
on display at the OU Lightwell Gallery as part of the exhibit “Fictive
Selves of Color.” The show, presented by the Oklahoma Visual
Arts Coalition, “explores how different colors and races
contribute to Aesthetics and Ethics in society” and runs from
March 6th – 24th.

24 Works on Paper

A map from Kim Rice’s redlining series
has been selected for the biennial “24 Works on Paper,” a travelling
exhibition of paper-based work by contemporary artists. The show
runs through the end of January 2018. See the web site
for the schedule.

It Took A While

Kim Rice’s 11'×19' installation White
Side will be exhibited this November at the Harry Wood
Gallery in Tempe, Arizona, as part of the Fiber Arts Network's 2016
catalog show It Took A
While. The opening reception is Tuesday, November 8.

Concept/Survey

Curator’s Choice Award

Kim Rice’s redlining installation won the
Curator's Choice Award in the 2016 Concept/Survey show curated by
Adam Welch. The exhibition is showing through through July
23rd at the Hardesty Art Center in Tulsa, Oklahoma.

Noche Cubana!

Two of Kim Rice's pieces will be auctioned off at Noche
Cubana!, a celebration of Cuban arts and culture, including
music, dance, art, and comedy. The event takes place on Saturday,
April 2, at Mainsite gallery in Norman, Oklahoma.

Public Narrative: Story of Self, us & Now

Kim Rice's work is being shown at Mainsite gallery in Norman, OK
as part of the exhibition Public Narrative: Story of Self, Us,
& Now, a show curated by the 2015 Oklahoma Art Writing and
Curatorial Fellows to "highlight the complexity of our stories as we
look inward, to the community, and finally, to the future." (source).
February 12 — March 11, 2016

Art Focus

Seven-State Biennial Exhibition

Kim Rice's work will be shown at the Seven-States Biennial
Exhibition, opening September 26 at USAO's Nesbitt Gallery. The
show will travel to the Charles B. Goddard center in Ardmore and
closes out in the Musesum of the Red River in Idabel, Oklahoma on
November 4.

Selected Work

Redlining

In the 1930’s, as a means to boost the middle class, the US Government
made mortgages available through a program called the Home Owners’
Loan Corporation (HOLC). In a well-documented process known as
redlining, government officials outlined neighborhoods on city maps
and then color-coded the areas. The neighborhoods deemed “declining”
(yellow) or “hazardous” (red) were not considered for mortgages—these
were integrated or non-white neighborhoods. Banks and insurance
companies followed the example of the Federal Government and did not
finance home ownership in these areas either. This practice was legal
until 1968. The residue of this institutional racism continues to
segregate, allowing some communities to thrive while others suffer.

The Divide is a meditation on redlining. Using patterns from my
Scandinavian heritage, I wove roofing paper and New Orleans HOLC maps
into the Mississippi river. The Mississippi was a port for the slave
trade and the institutional racism of redlining is a part of that
legacy. In New Orleans, property and water are particularly
interwoven. Areas that had little flooding during Katrina like Uptown
were considered “Best” on the 1939 redlining map.

Equality in America is directly linked to property. It is the way we
accrue money, pass down inheritance, and get access to education,
food, and employment. Where you live in the United States is even
linked to life expectancy. In an era of constant information it is
important to repeat a truth over and over again until we fully
understand it and deal with it. As a white person I recognize my
middle class status, my education, my profession and my ability to be
a homeowner today are directly linked to my grandparents’ and
great-grandparents’ ability to own property.